After conducting our Carbon Audit, we were able to establish that 95% of our carbon emissions are generated from both our international and domestic shipments and the packaging required to ship these works safely and securely. Our storage facility, remained one of the most efficient areas within our business, generating only 1.99% of our total emissions and as a direct result of our team taking the time out to plan the audit, we are currently investigating more eco-friendly packaging options.

In the meantime, we are pleased to confirm that not only do we use 100% recycled card when packing works but our crates are ISPM15 certified by the Forestry Commission and our warehouse is set up to recycle as much of our own, and our clients, packaging as possible. Our digital activities are already optimised to be as eco-friendly as possible. We regularly optimise marketing lists and store emails and files on the cloud, for example. We also actively promote greener practices within our office, banning the use of single-use plastics within the office and going completely paper-free.

However, and here’s where we may surprise you, we won’t be offsetting shipments.

Given the buzz surrounding offsetting within the industry, we were keen to explore whether this was actually the right way forward or whether there were more sustainable and effective actions that we could take as a shipper to reduce our Carbon Emissions. Our verdict was no and we don’t believe off-setting is the answer to eco-friendly shipping.

Although it’s clear that offset programs are positive initiatives, crucially, we do not believe that offsetting can be relied upon to remove sufficient carbon from the atmosphere in any reasonable timeframe. There are also issues around additionality and social and environmental harms (moving people away from their homes to make way for tree planting, for example).

With this in mind, we will be looking to reduce our emissions rates by committing to the below:

Reviewing our packaging

Completion of a comprehensive packaging review, moving to sustainable packaging options where appropriate and feasible with a view to moving to 100% recyclable packaging by 2025.

Monitoring our Carbon Emissions

Recording the carbon emissions from all movements within the UK and abroad and clearly communicating emissions to clients via their quotes and invoices, making it easier for our clients to track their carbon footprint and make more eco-conscious decisions moving forward.

Promoting more environmentally friendly shipping options

Recommending more eco-friendly shipping options to all clients where possible. We will, for example, be recommending sea freight over air-freight when a client’s deadline/insurance policy allows. And where appropriate, we will offer consolidated shipments to reduce reliance on dedicated transport.

Fostering a greener carbon reduction culture within our offices

Switching to green energy suppliers for our Head Quarters and Storage facility. 

Going paper-free, unless hard copies are required for external parties.

Banning the use of single-use plastics within the office, switching to LED lighting and turning off all non-essential electrics when not in use.

Funding systemic change with Client Earth

Recognising the limitations of offsetting, we will be funding systemic change to fight climate change and lobby for climate-friendly policies and practices by donating £50 per tonne of carbon produced to Client Earth, as recommended by a recent LSE paper and our friends at The Gallery Climate Coalition.

We understand that we still have a long way to go to reach our targets in line with the Paris agreement but as one of the main carbon contributing bodies in the industry, we are committed to reaching this target and are confident that we have a clear plan in place to not only track our progress through yearly carbon audits but also to proactively work to be a more eco-friendly shipping and logistics company.

If you would like to ask us any questions on the above or you or your gallery would like to explore greener shipping options, we would be happy to advise.

Alice has been a registrar for the past eight years and is currently four years into her role at Victoria Miro, where she manages their loans programme. If that wasn’t enough, Alice also liaises directly with around 15 artists and works closely on their customs records as well as working on client services and art fair arrangements with the rest of the Victoria Miro team. But it doesn’t stop there.

Interested to find out how being a registrar has changed during the pandemic and how Victoria Miro is working to become more environmentally friendly, we asked Alice a few questions. First up;

What does an ‘average’ day look like for you as a Senior Registrar in one of London’s top galleries?

Aside from working from home for the past year, my regular routine will involve checking on various timely shipments, ensuring all internal records and paperwork are updated for our loans programme, our artists and our clients. Video meetings with different teams are scheduled throughout the week, alongside reviews of longer ranging projects for storage, customs and condition checking of artworks. I work closely with our exhibitions, technical and sales teams on a daily basis.

How is Victoria Miro working to be more environmentally friendly?

We are increasingly aware of our environmental impact internally and with external suppliers, and this recent focus on sustainability is starting to inform our decisions.

Internally, we implement measures to reduce our carbon footprint by organising a weekly shuttle truck between the gallery and London storage locations alongside minimising singular shipments and using shared sea containers where possible, which has the added benefit of reducing costs for all involved.

We recycle and reuse most soft materials where possible, rarely using those that can’t be recycled for packing. Supplier information is shared between contacts within the industry to further our collective knowledge. The gallery has also invested in ROKBOX reusable cases which we aim to utilise where possible during regular transit movements.

From an operations perspective, our front-of-house is already paperless, and we are encouraged within the offices to follow suit (this has certainly been easier to implement since working from home). We also understand our responsibility to purchase eco-friendly and biodegradable supplies and support local environmentally conscious businesses where possible. A bike-to-work scheme is offered to all staff, as well as other incentives to support green methods of commuting. The gallery is also directly part of various ecosystems given its unique location alongside an east end wharf – the safeguarding of the local moorhen and swan population is of paramount interest to the gallery as a whole!

We have also engaged in conversations over the years with external fine art agents, to understand how we might integrate their current and future aims for their facilities and supply chains, in terms of recycling materials, renewable energy systems and in-house waste-reducing innovations, with our own. We have raised the future prospect of carbon offsetting options and plans for hybrid/electric vehicles, and also discussed how to raise more awareness of these and existing sustainable options with the public and their client base, since these developments need to be made transparent to increase uptake, which is to the benefit of all.

Finally, since the beginning of the pandemic, the gallery has channelled energy into a variety of well-received online art fair presentations and virtual reality exhibitions, which by nature have a low carbon footprint considering the minimal shipping preparations involved. This has been a very engaging new activity that the gallery aims to continue sharing with visitors in various iterations alongside physical shows in future.

Victoria Miro, 16 Wharf Road, London N1 7RW Courtesy Victoria Miro (Photograph © James Morris)

What’s the biggest challenge that you’ve had to overcome recently and how did you do so?

Arranging regular consolidated shipments has been logistically complicated during the pandemic and post Brexit when dealing with customs delays, volatile shipping rates, tight deadlines and artist and client requirements, which we treat with utmost care. Additionally, the shifting loan schedules and amending of paperwork due to the pandemic has been particularly trying! However, we have worked closely to ensure logistics run as smoothly as possible.

Ultimately, progress can be challenging when it comes to changing our ingrained habits within the industry – multiple factors must be discussed and confronted, which can be uncomfortable. And yet growing support, sustained engagement and gradual action will benefit the arts as a whole. Though it’s hard for any one organisation to control the level and speed at which change happens, I’m never in doubt of the importance of taking action where possible, however large or small.

If you would like to know more about how we at Queen’s are working to reduce our Carbon Footprint, you can view our Carbon Plan here. For shipping, storage or installation requests, your Queen’s contact remains at your disposal. Alternatively, please contact info@queensfineart.com

1. Consider why the works are being transported and whether they will be returned

If the works being transported are likely to be returned (for Art Fairs and alike) or are being sent to another gallery location, then cyclical packaging solutions such as RokBox and Kvatt could be a great option to consider. Over recent months we have seen a number of galleries invest in their own RokBoxes to transport works between gallery locations or in preparation for forthcoming art fairs.

2. Where cyclical packaging solutions aren’t possible, it’s worth considering how the works are being transported

In the past, many clients requested custom crates be produced for each work being transported. However, this isn’t always required and can add to the total cost of the shipment quite considerably. When works are being transported via a fine art road service, our team of fine art packers can often provide alternative solutions, that offer ample protection for some of the most fragile of works, using recyclable card.

This also reduces the overall weight of the shipment which helps to make the overall running of the road service more efficient and environmentally friendly. As always, if you have any questions regarding how to limit the packing required whilst also ensuring the safe transit of your works, then please speak to a member of our team that will be happy to help.

3. Consolidate your transport and plan you international art shipping ahead

It’s not new news that consolidating the movement of your works with others, either within your portfolio or those traveling to the same or similar destination, can help to limit the environmental impact of transporting works. However, many of our clients continue to opt for dedicated transport options either because of the deadlines required or because of the lack of visibility of shuttle services traveling to different destinations.

For some of the most popular UK and European destinations (London, Paris, Geneva, Basel, Berlin, etc) Queen’s continues to offer a bi-weekly shuttle service to clients who can be more flexible with deadlines for delivery. When clients have an extended deadline, then shipping works via sea-freight, which has a much lower carbon footprint than the likes of air freight, may also be possible although the average shipment time is clearly much longer and will need to be factored into timelines.

4. Push your shipper to move to more sustainable solutions

As an industry, it’s no secret that, historically, fine art shipping companies haven’t been as environmentally conscious as they could have been and that’s beginning to change. The perfect environmentally friendly packing solutions may not exist yet but there are options available. Queen’s are currently in the initial testing phase of switching to recycled tape and compostable foam and film and the more that clients push shippers to switch to more eco-conscious packaging the quicker shippers will be forced to adapt to the needs of their clients and the environment.

If you would like to test any new packaging materials with Queen’s then please reach out to the team and we would be delighted to test these for you.

Having worked in the industry for over 20 years now, I’ve moved and installed artworks for some of the world’s top galleries, museums, artists, and private collections. What’s evident to me is that, certainly up until the last 3 years, the conversation around the environment within the sector was limited. Of course, it was known that shipping large quantities of artworks to art fairs around the world had an adverse environmental impact but there was little appetite for that to change. The conversation around that is shifting.

I feel that galleries, in particular, are starting to give much more thought to the type of packaging they are using and its sustainability. With the likes of Hauser & Wirth, for instance, where a Global Head of Environmental Sustainability has been appointed, you can see a start of a shift in emphasis. I also credit The Gallery Climate Coalition in being instrumental in identifying and shaping demand when it comes to sustainable shipping and packing options. Since they launched just over a year ago, we’ve seen an increase in the number of clients enquiring about more sustainable solutions.

Although they’re certainly not reasons to hide behind, I believe that there are three primary reasons that the fine art logistics industry has been slow to adopt more ecologically sound practices, all of which we should be working on how to overcome.

Firstly, we work in an environment where best practice evolves or is communicated from the top down. Museums and public collections (and maybe to an extent insurers and conservators) define what that best practice is in terms of packaging and that is adapted and applied by commercial galleries and by fine art logistics providers to varying degrees dependent upon the fragility and value of an artwork.

What we define as best practice is somewhat ingrained and, therefore, can be slow to change or develop. Although we are seeing a shift in mindset from the larger institutions, who now recognise their position and clearly want to be agents for change, I’ve only witnessed that happening in the last 3 years. This point was referenced by two prominent museum directors at the Gallery Climate Coalition conference last week. You can view this here.

Secondly, there is also a need for research and development for alternative packaging solutions but, until recently with the development of a shipping sub-group within The Gallery Climate Coalition, there has not been an appropriate forum within which we as shippers could collaborate, nor has there been an appropriate forum where other stakeholders (museums, registrars, art handlers and technicians, conservators, insurers) could provide their necessary input in order to shape the R&D that is needed.

Thirdly, it’s only natural that new solutions are always going to be more costly, at least initially, so historically there has always been a challenge to find the balance in which costs we, as fine art agents, absorb and which costs we pass on to our clients. Recently when we investigated using a fantastic eco-friendly alternative to polythene film. Although this was perfect for many projects, it soon became apparent it was cost-prohibitive – being five times more expensive than standard polythene film.  Up to now, shipping agents would have struggled to justify that additional cost. That’s now changing.

Cyclical packing solutions also have the potential to be a huge step-change for the industry, but they come with their own logistical issues which has slowed adoption. Speaking personally, when I am looking at a packing solution for a given project it’s almost like muscle memory, that’s to say I’m accessing my memory bank for similar issues I’ve addressed before. I think as individuals we need a nudge to push us towards change. I can, for instance, think of many examples where, with the benefit of hindsight, I might have been able to use a cyclical solution, for example, a ROKBOX, rather than a single-use solution.

I believe there are a series of steps that we can take to move more quickly when it comes to adopting more environmentally friendly practices.

Communication and collaboration is going to be key. The fine art logistics sector needs to engage much more closely with stakeholders, whether that be at museums and registrars conferences such as UKRG or at an event like last week’s Gallery Climate Coalition conference, in order to build consensus on what’s needed and what’s appropriate in terms of packaging development. I’d love to see a panel of some kind where commercial galleries, museums, conservators, insurers, and shippers can have these conversations on a regular basis to really push the agenda forward at pace. If we take a moment to work with other agents to negotiate more competitive material rates and co-fund research and development projects costs then there’s no reason why we shouldn’t be able to overcome these issues.

I think ROKBOX is a fantastic product and, in an ideal world, I’d love to see the fine art logistics industry becoming far more collaborative in order to build networks and share their inventory to expand potential use. The major challenge we face is to get these products back efficiently when a movement is only one way, from London to New York, for example. Sharing a network of resources and cyclical materials would help with this.

We also need to be open when we find great alternatives to those materials that we use habitually. We did, for example, recently find a great alternative to single use gloves which we have now switched to throughout the organisation. There are easy changes that can be made today and making these changes publicly available will only serve to benefit us as a whole rather than diluting competitive advantage.

We need to foster a culture within our businesses where we are constantly looking at how we can improve our environmental credentials, considering how we can adapt our processes accordingly at every opportunity. Stakeholder engagement within our organisations is key.

There’s a long way to go but I believe we’re heading in the right direction and, with greater collaboration, I’m sure we will reach our ambition to reduce our carbon emissions by 50% in line with the Paris Agreement.

We would welcome collaboration across the industry, so if you’d like to work with us to develop and trial more eco-friendly packaging solutions, please do get in touch via info@queensfineart.com

Moving your works to collector’s home, galleries and alike will always generate a least a nominal amount of CO2 but there are a number of steps, outlined below, that can be taken to ensure that your shipment is as sustainable as possible.

1. Understand the CO2 emissions that are generated from shipping sculptures.

This first step to making your shipments more environmentally friendly is understanding the level of CO2 that is emitted in the first instance. Many logistics firms should now provide the CO2 emissions on their estimates, and some are now showing how this compares to alternatives, such as see freight. This is the case with Queen’s.

By understanding the emissions that are produced by the movement of your works, you can actively make decisions to explore other methods of transport that may be more environmentally friendly. You may also choose to donate to a strategic climate fund, such as Client Earth, which many now argue this is more efficient that simply offsetting. We do this as standard and at no extra cost. More information on this can be found here.

2. Explore alternative to air freight, where applicable.

If you are looking to explore sea freight, more information can be found here on when sea freight is a viable option and how to ensure that the insurance guidelines are followed when shipping sculptures via sea.

For road freight, it’s worth checking to see whether the movement of your work can be consolidated with others going to a destination nearby. We continue to offer a regular consolidated shuttle service between London and the most popular destinations in Europe, including Paris, Geneva, Amsterdam, and Basel. This is also more cost effective that opting for a dedicated vehicle. For information on our latest shuttle dates, email info@queensfineart.com

3. If you’re planning on shipping sculptures, do so well in advance.

Shipping works via sea often results in a longer lead time and requires a little more planning. If you know that you have a shipment coming up, it’s important to speak with your logistics provider as early as possible.

Although rates are likely to fluctuate, planning your shipment in advance can ensure that you can choose the route that has least impact on the environment. If, for example, delivery dates can be flexible, consolidated transport, as mentioned above, can be a great option to reduce both cost and carbon emissions.

4. Consider whether packing materials can be re-used

For clients looking to explore reusable crate options, we have a number of ROKBOX on site. These can be used to reduce the amount of bespoke crating and packing required when moving works both internationally and abroad.

For sculptures specifically, we are sometimes able to reuse crates that have been discarded by a previous client, so it’s always worth checking with your logistics provider whether they have any crates already available.

When transporting a sculpture specifically for an exhibition and when you know the work is likely to return or be moved to another destination, if possible, make sure to keep the packaging that was used for the original shipment. This can often be reused.

Should space be at a premium, it can sometimes be more cost effective to store crates for a short period than to have these re-commissioned when the exhibition is over. Your logistics provider will often advise whether this is the case but it’s useful to keep in mind.

Should you be looking to move sculptures in the near future, you can email info@queensfineart.com and the our team will be in touch to arrange everything for you. 

This case study illustrates a shipment that Queen’s managed for a private client in February 2022 and demonstrates the carbon saving that was made by moving the works via ocean freight in comparison to air, which was originally the client’s preference.

Fine art transport from London to Punta Cana

In February 2022, Queen’s were approached to transport two large sculptures from London (UK) to Punta Cana (Dominican Republic). Both works were collected from the client’s residence and transported by road to Queen’s storage facility. The sculptures were then packed into two individual bespoke crates made from Swedish pine and moved via road to London Gateway Port, Essex, travelling a distance of 115km.

The weight of the sculptures alone was 430 kg, and the crated weight was 1230 kg. After their arrival to London Gateway Port, the works were loaded onto the cargo ship before travelling 10,321.2km to Caucedeo Port in Santo Domingo, FCL.

Conversely, if these items were to be shipped by air, both works would then have been transported via road to London Heathrow Airport and flown to Santo Domingo Airport, travelling 6,980 km. Despite this being a shorter distance, the emissions produced by transporting these works via air would have increased to 9.64 tCO2e, which is considerably higher than 0.26 tCO2e produced by sea freight.

The charts below demonstrate the difference between these two types of transportation:

As you can see from the above, the difference between the CO2 emissions generated by each method of transport is substantial, with air transport being the largest source of pollution by a large margin.

Although at present, many clients still prefer to move works via air freight, for a movement like this, it was perfectly possible, and safe, to transport these works via sea freight. All sea freight insurance guidelines were followed to minimise risk and, although the movement via sea freight took longer, the benefits of moving these works in this way on the climate far outweighed any gains made by the works being delivered sooner via air, even when accounting for the longer sea freight movement.

Should you be looking to explore how to ship more works via sea freight, your Queen’s contact remains and your disposal and will be able to advise on the most appropriate option available to you. Alternatively, you can email info@queensfineart.com and one of our international shipping managers will be in touch. 

Queen’s continue to look for the most sustainable art transportation and storage solutions. Our most recent carbon audit highlighted that around 10% of our total emissions were produced through packaging. Therefore,  we decided to try and do something about it.

B Corp

Using business as a force for good.

So what is a B Corporation?

Put simply, certified B Corps are companies who are committed to prioritising their employees, clients, community and environment in the way that they do business.

We’re proud to stand alongside likeminded businesses such as Patagonia, Ben & Jerry’s, Aesop and TOMS.

Certified B Corporations® are for-profit companies that use the power of business to build a more inclusive and sustainable economy. B Corps are independently assessed to ensure that they meet the highest standards of social and environmental performance, transparency and accountability.

Over the past three years our business has been rigorously analysed, with a focus on five key impact areas.

Workers

Workers evaluates a company’s contributions to its employees’ financial security, health & safety, wellness, career development, and engagement & satisfaction. In addition, this section recognises business models designed to benefit workers, such as companies that are at least 40% owned by non-executive employees and those that have workforce development programs to support individuals with barriers to employment.

Community

Community evaluates a company’s engagement with and impact on the communities in which it operates, hires from, and sources from. Topics include diversity, equity & inclusion, economic impact, civic engagement, charitable giving, and supply chain management. In addition, this section recognises business models that are designed to address specific community-oriented problems, such as poverty alleviation through fair trade sourcing or distribution via microenterprises, producer cooperative models, locally focused economic development, and formal charitable giving commitments.

Customers

Customers evaluates a company’s stewardship of its customers through the quality of its products and services, ethical marketing, data privacy and security, and feedback channels. In addition, this section recognises products or services that are designed to address a particular social problem for or through its customers, such as health or educational products, arts & media products, serving underserved customers/clients, and services that improve the social impact of other businesses or organisations.

Governance

Governance evaluates a company’s overall mission, engagement around its social/environmental impact, ethics, and transparency. This section also evaluates the ability of a company to protect their mission and formally consider stakeholders in decision making through their corporate structure (e.g. benefit corporation) or corporate governing documents.

Environment

Environment evaluates a company’s overall environmental management practices as well as its impact on the air, climate, water, land, and biodiversity. This includes the direct impact of a company’s operations and, when applicable its supply chain and distribution channels. This section also recognises companies with environmentally innovative production processes and those that sell products or services that have a positive environmental impact. Some examples might include products and services that create renewable energy, reduce consumption or waste, conserve land or wildlife, provide less toxic alternatives to the market, or educate people about environmental problems.

What’s next?

Undertaking the rigorous assessment and achieving B Corp status is just the beginning. Though we’re proud of everything that we’ve achieved at Queen’s, the process offered huge insights into aspects of the business where we can still do better. We’re far from perfect, but we’re committed to improving in every way we can.

You can find out more about our performance on the B Corp website.